Ashford Fine Art Sculptures

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. The artwork is hand made by the technic of the ...

A beautiful modernist 20th Century Bronze piece by Joachim Berthold. Here we find this stylish figure sitting in a hoping position looking up that eludes thought and complexity. A me...

Reaching, ca. 1980. Cast bronze. Signed in lower region on wrist. A rare example from the artist's later period influenced by figurative abstraction with expressionist tendencies. James Edward Lewis (August 4, 1923 – August 9, 1997) was an African-American artist, art collector, professor, and curator in the city of Baltimore. He is best known for his role as the leading force for the creation of the James E. Lewis Museum of Art, an institution of the HBCU Morgan State University. His work as the chairman of the Morgan Art Department from 1950 to 1986 allowed for the museum to amass a large collection of more than 3,000 works, predominantly of African and African diasporan art.[1] In addition, he is also well known for his role as an interdisciplinary artist, primarily focused on sculpture, though also having notable examples of lithography and illustration. His artistic style throughout the years has developed from an earlier focus on African-American history and historical figures, for which he is most notable as an artist, to a more contemporary style of African-inspired abstract expressionism. Early and personal life James E. Lewis was born in rural Phenix, Virginia on August 4, 1923 to James T. Lewis and Pearline (Pearlean) Harvey.[5] Lewis' parents were both sharecroppers. Shortly after his birth, his father moved to Baltimore for increased job opportunity; James E. was subsequently raised by his mother until the family was reunited in 1925. They lived for a short time with distant relatives until moving to a four-bedroom house on 1024 North Durham Street in East Baltimore, a predominantly African-American lower-class neighborhood close to Johns Hopkins Hospital. Lewis' primary school, PS 101, was the only public school in East Baltimore that served black children. Lewis grew up in a church-going family, his parents both active members of the Faith Baptist Church, devoting the entirety of their Sundays to church activities. His parents worked a variety of different jobs throughout his youth:[6] his father working as a stevedore for a shipping company, a mechanic, a custodian, a mailroom handler,[6] and an elevator operator.] His mother worked as both a clerk at a drugstore[7] and a laundress for a private family.[4] Lewis' primary exposure to the arts came from Dr. Leon Winslow, a faculty member at PS 101 who Lewis saw as "providing encouragement and art materials to those who wanted and needed it." In fifth grade, Lewis transferred to PS 102. Here, he was able to receive specialized Art Education in Ms. William's class under the guidance of Winslow. He was considered a standout pupil at PS 102 as a result of his introduction to the connection between the arts and the other studies. His time spent in Ms. Pauline Wharton's class allowed for him to experiment with singing, to which he was considered a talented singer. His involvement in this class challenged his earlier belief that singing was not a masculine artistic pursuit. He was able to study both European classics and negro spirituals, which was one of his earliest introductions to arts specific to American black culture. Under Ms. Wharton's direction, he was also involved in many different musical performances,[6] including some works of the Works Progress Administration's Federal Theatre Project.[8] Lewis attended Paul Laurence Dunbar High School, where his love of the arts was heightened through his industrial art class with Lee Davis...

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. This artwork is a multiple of 70 specimens and it is numbered 69/70. It is signed...

W. R. Stevenson's abstract bronze sculpture titled "Bird". The unique sculpture stands on a sleek wooden base and has a plaque that includes the artist and title. Artist Biography: William Robert Stevenson was born in 20 May 1925 in Eugene, Oregon. His family moved to Minneapolis, MN but he promptly returned to Oregon and Washington during the Great Depression to work in the Works Progress Administration (WPA). Hoping to study Art, his future was sidetracked when he was drafted into the United States Army at age 17 years old in early 1942. Being a strong swimmer, and having worked at stables as a child, he initially served in the last US Cavalry Corps, and also as a Swimming Instructor for the United States Army. Upon the abolition of the Cavalry Corps, he was trained as a Gunnar and Tank Commander for the M-4 Sherman Tank under General Patton...

Kinetic Bronze sculpture Size US: 40 1/5 × 13 4/5 × 13 4/5 in Size Europe: 102 × 35 × 35 cm Edition 1/6

This is an engaging multiple artwork by the Italian artist Robert Nanut, a talented artist of 1980’. This is a multiple of numbered edition of 1.000 pieces. This artwork was made in 1980 but it can be considered new cause remained since now stored and packed in the Editor warehouse. The bronze sculpture is completed by the certificate of authenticity, there is the number assigned to the piece and the original signature of the author. Roberto Nanut...

Beautiful kinetic out-door sculpture by Gianfranco Meggiato. Bronze. Gianfranco Meggiato was born on August 26, 1963 in Venice, where he studied stone, bronze, wood and ceramics scu...

"Symphony II" Bronze Sculpture 14.5" x 17" inch by Ibrahim Abd Elmalak Bronze & Marble Signed & Dated Sculptures that mostly depict his characteristic figures of feminine form an...

"Viewer" Bronze Sculpture 41.5" x 32 "x 20" inch Ed. 1/1 by Sergii Shaulis 2020 From the Fateful Flowers series Approximate weight 75 lbs ABOUT ARTIST Born on 27 May 1985 in Kharkiv, Ukraine. From 2005 to 2011 studied at the Kharkiv State Academy of Design and Arts, at the Faculty of "Fine Arts" specialty "Easel and monumental sculpture." Now studying postgraduate at Kharkiv State Academy of Design and Arts. Works are in private collections in Ukraine, Israel, Germany, USA, Australia, Finland, Holland, Spain, Belgium, England. Education 2002‑2005 Faculty of Engineering and Physics (NTU KhPI) 2005‑2011 Easel and monumental sculpture (KSADA) 2012-2016 postgraduate education (KSADA) Exhibitions 2007-15 City exhibition HONSKHU. Kharkiv. 2007-14 Ukrainian Exhibition KONSKHU. Kyiv. 2008-11 "The maestro and his students", KSADA. Kharkiv (Audience Award 2009) 2008 11 International Triennial of sculpture. Kyiv . 2009 “Male portrait”, gallery KSADA. Kharkiv . 2009 "You get SMS ", Kharkiv ( Grand Prix "The best sculpture...

Roberto Estopinan, Cuban, 1920 - 2015 Dimensions: 24.5" wide x 13" high plus 6" high base. Roberto Estopiñán (1921–2015) was a Cuban American sculptor known for his sculptures of the human form, including political prisoners. Born in Camaguey, Cuba, he lived in the United States for over fifty years. His works are held by major institutions such as the Museum of Modern Art, the Whitney Museum and the Smithsonian Museum of American Art. Roberto Gabriel Estopinan, a sculptor, draftsman, and printmaker, was born in Havana, Cuba on March 18, 1921. Estopiñán enrolled at the San Alejandro Academy when he was just 14 years old and became the protegé and studio assistant of the sculptor Juan José Sicre. After graduation he traveled first to Mexico, where he met and befriended Francisco Zuniga, and studied Pre-Columbian sculpture. In 1949 he traveled to Europe, visiting England, France and Italy. In these trips he encountered the sculpture of Henry Moore and Marino Marini, and their humanistic yet formal visions would be influential on Estopinan's work. Estopiñán was a pioneer of direct carvings using wood and of welding techniques in Latin America. Throughout the 1950s, Estopiñán received important prizes at various national exhibitions in Havana. In 1953 he was the only semi-finalist from Latin America at the Tate Gallery's international sculpture competition for a Monument to the Unknown Political Prisoner. In 1961, the artist moved to New York, where he resided until 2002. Roberto Gabriel Estopiñán a Cuban emigre sculptor who emigrated to exile in the United States not long after Fidel Castro’s revolution in 1959, is considered one of Latin America’s most important 20th-century artists. His work, which includes drawings and prints as well as sculptures in wood and bronze, is in the collections of New York’s Museum of Modern Art, the Smithsonian’s American Art Museum, the Art Institute of Chicago, and the Detroit Institute of Art, among many locations. He is best known for his stark, disturbing renderings of political prisoners, the fruit of his own experiences as a dissident under both Castro and his predecessor, the dictator Fulgencio Batista, and for his representations of the female torso that can remind viewers of both classical statuary and the high-modern, abstractly elongated work of Henry Moore.mHe was born in Havana to a father from Asturias in northwest Spain and a mother of African descent. Estopiñán was something of a prodigy. At the age of fourteen, he won the first prize in drawing at the Centro Asturiano, a regional association for Cubans of Asturian descent. Shortly afterward he received special permission to enter the San Alejandro Academy of Fine Arts in Havana. At the school he was mentored first by its director, the painter Armando Menocal (1863-1941), then by the landscape artist Antonio Rodríguez Morey (1872-1967), and finally by Juan José Sicre (1898-1974), regarded as one of Cuba’s greatest sculptors. Sicre, a professor of sculpture at the Academy, had helped introduce European modernist art to Cuba, and from the 1930s through the 1950s had sculpted monumental figures in Havana of José Martí and other Cuban national heroes that stand to this day. Estopiñán was first Sicre’s student, then his assistant, and, finally, his colleague for the next fifty years. After graduating from San Alejandro in 1942, Estopiñán began simultaneously teaching art at the Ceiba del Agua School for young men, assisting Sicre in public art projects and developing his own artistic vision. He also traveled widely, to Mexico, New York, France, and Italy. From the late 1940s through the 1950s his sculpture evolved from an early neoclassical phase under the influence of Maillol to what he defined as “formalist humanism”: emphasizing the abstract beauty of the shapes he sculpted while not abandoning the human figure as the basis of his work. As the 1950s progressed he chose to carve in native Cuban woods...

"Wind of Change v.2" Sculpture 19.5" x 9.5" x 5.5" in Ed 1/1 by Sergii Shaulis 2021 Man. From the Fateful Flowers series Approximate weight 14 lbs ABOUT ARTIST Born on 27 May 19...